Did the spirit of genius touch Fairport again in the early-mid-80s.

[Keith E Rice]

I didn't mean to imply that Chris was in any way a lesser musician - and I hope nobody took it that way. He is clearly a 'natural' - as he turns his hand easily to a variety of instruments. To hold your own in FC for any length of time - let alone 10 years! - speaks volumes.

However, his violin style is, IMHO, a lot closer to Swarb's than it is to Ric's. If I listen to, 'MOAT ON THE LEDGE', the cod-live 'IN REAL TIME', then '25th ANNIVERSAY', then 'CROPREDY BOX', for example. I find that we go back and forth between a traditional folk-based sawing (Swarb and Chris) and a more electronic jazz approach (Ric).

If Swarb was the greatest ever in his style, then following him would inevitably have put Chris at a disadvantage. Putting the very different Sanders in the violin spot deflected that because clearly Ric was so different. You can debate the appropriateness of such a stylistic change but that very change makes it impossible for it to be a debate about the person.

In the same way, Simon having a 'go' made direct comparisons between Richard and Jerry difficult. I find them stylistically similar in many ways - though I would probably concede that Jerry is more fluid while Richard is more innovative.

[Jules Gray]

Guitarists - I agree totally with what you just said about Jerry and Richard.  I do notice a touch more of the influence of Clarence White and other stringbenders in Jerry's playing, and more attack and fireworks in Richard's styles, but I also hear plenty of common ground.  I love 'em both.

Drummers - It's DM all the way for me.  His playing on the 'Babbacombe' Lee album in particular is fantastic, and the production has him playing across your stereo speakers like he's there in the room.  I love his fills on John Lee and Hanging Song.  I think Bruce got a bad rap and did an admirable job.  Gerry's always been great - I agree that in his earlier days he could give DM a run for his money - his work on Fotheringay and Hark! The Village Wait is first class.  Going back in time I think Martin Lamble sounded spirited but a little unpolished, like he only just made it by the skin of his teeth, but he was a young man when he died and would know doubt have continued to grow and develop.  I very much doubt he'd ever have achived DM's level of excellence though.

Fiddle players - I hear what some of you are saying about Swarb being a folkie scraper, but to my mind he was irreplaceable and Fairport just haven't been in the same league since he left.  Ric's style of playing is too flash for my tastes.  I prefer Chris, but it's still....well it's still not Swarb.  And maybe that's because Swarb was more than just a fiddle player.

I think the main issue with the band is vocalists.  Swarb was never really acknowleged as a singer (especially because in essence he replaced Sandy Denny in this role), but I love how he sang.  Now Be Thankful has to be one of the all time great vocal performances.  I always thought Simon was fine as an occasional singer, but when he became the main vocalist, it just wasn't happening to my ears.  I prefer Chris, but it's still....well again it's still not Swarb, or Richard.  (Never mind Sandy!)

As a fiddle player and a singer I think Swarb was essential to my concept of a full blooded Fairport, and the albums made since his departure just don't do it for me....excepting the ones he and RT play as a guests.

Jules

[David W]

Chris Leslie is amongst the finest traditional fiddle players in the country at the moment - and just because he didn't invent folk-rock fiddle playing in the way Swarb did does not mean he is a lesser musician, merely a younger one.

I think it is unfortunate that he seems to play more mandolin / bouzouki with FC than he does fiddle but thats the way it is. He is also a fine singer and a developing songwriter, IMHO he stands alongside Swarb in all categories, except for one - he's probably a better dancer!!

Jackdaw

[PLW (Peter)]

To my mind, two of the things that define what Fairport are (post L&L) are a lead guitar and a fiddle player, and they're missing both of those at the moment... 

They have two fiddle players.

No they don't.  They have a (supremely talented, before anybody accuses me of saying anything I'm not) electric violinist, and a Bouzouki player

 

Funny looking bouzouki I saw under Chris's chin for a lot of the Fairport set at Cropredy. 

[Anji]

No they don't. 

 

[davidmjs]

Funny looking bouzouki I saw under Chris's chin for a lot of the Fairport set at Cropredy. 

I know...those Hendrix impressions he does with it are quite impressive aren't they 

[Shane (Skirky)]

I think you’re absolutely right that the band hit a mid-eighties peak, at least in terms of live performances. In Real Time is/was certainly the best of the ‘live’ albums in that it’s concise, is a snapshot of the band at that particular stage of their career (although anyone who’s heard the In Real Time video can hear how that really sounded on stage) and impresses both through the exemplary playing and the choice of material. Everyone was on top of their game at the time, the line up had a good balance and, most importantly, everyone was also in regular employment outside the band, and so there were always outside influences, the guys were being stretched musically and were adaptable to new challenges, and all of this was brought to focus and used when they returned to Fairport. This is the sort of conditioning for a musician that you just don’t get from messing about with hobby side projects. There was a certain, not arrogance, but certainly swagger, manifestly evident on the brutal version of Bridge of Sighs from QJOB which you just don’t seem to get with these days’ by rote versions of (say) Waiting for the Tide to Come In.

[Pat Helms]

Hannibal began reissuing albums from their classic period, so there was some renewed interest in the band's history to complement the anticipation for the new line-up.  Both the past and future appeared fresh and renewed for both the band and their audience.  It was a sweet period.

[PLW (Peter)]

brutal version of Bridge of Sighs from QJOB

Sorry, not sure what that is. Maybe I'm just being dense.

[Shane (Skirky)]

On 'Quiet Joys of Brotherhood' there's a live version with Ralph McTell of his song Bridge of Sighs.

[PLW (Peter)]

Thanks

[Jack O Diamonds]

brutal version of Bridge of Sighs from QJOB

Sorry, not sure what that is. Maybe I'm just being dense.

Surely not possible